sureshot

1. Shellac at Pritzker Pavillion. One of the most surreal experiences of my life: seeing Shellac play a free show before 10,000 people in a public park. Even more surreal: most of those people stuck around until the end (families with kids and out of town tourists included). The band was ON, sound was some of the best I've ever witnessed, and it was truly a historic evening in the annals of Chicago underground rock I won't soon forget. Three cheers for the city having the balls to book this show.

2. The Jesus Lizard at Metro. Yow was injured for this show, and it was still one of the most visceral concert experiences of my life. I will be seeing them again on NYE, and I fully expect a healed Yow (complete with antics) will propel that show into this spot.

3. The Juan Maclean/ The Field at Double Door. Some of the most fun I've had at a show, ever. A complete cross section of Chicago dance lovers getting together and just having a fucking ball. Also felt privileged to witness Jerry Fuchs on drums (damn could he hold a groove), who tragically died in an elevator shaft fall a couple months back.

4. GAS at the Chicago Cultural Center. The first North American performance by Wolfgang Voight under the GAS alias. Free show, and an overflow crowd. Got to witness the godfather of ambient techno dish out some of the most luxuriously hypnotic soundscapes ever composed. Also incredible visuals provided by video artist Petra Hollenbach.

5. Fucked Up at Pitchfork Music Fest. Hipsters and white belts were a-flying. These guys are the real deal.

6. Monotonix at Logan Square Auditorium. Sweaty, ungodly hairy Tel Aviv madmen (banned in every venue in Israel) pushing their brand of balls-to-the-walls rock upon a receptive audience of substance abusers. Beer slip 'n slides and a the possibility you will carry a half naked Borat look-alike on your shoulders is par for the course. Who needs drugs when there are bands like this out there.

7. Throbbing Gristle at Logan Square Auditorium. Its not often you get to witness a group which spawned an entire genre of music. Its even rarer that they still sound as relevant and envelope-pushing as they did 30 years ago.

8. Acid Mothers Temple at The Empty Bottle. Japanese hippies and psychedelic rock. How can you go wrong?

9. Hum at the Double Door. I never thought I would ever get to see this band live. Sounded as if they never had broken up....just pure energy.

10. Sunn O))) at The Empty Bottle. The atmosphere was unreal: so much dry ice you couldnt see your hand in front of your face, the entire band dressed in monk robes, and of course the most overpowering low-end you will likely ever experience. The record title holds true: "Maximum Volume Yields Maximum Results." I think its almost impossible to fully appreciate this band until you see them live.

11. The Pink Mountaintops at Empty Bottle. Stephen McBean can do no wrong.

Honorable Mentions:

Isis at The Bottom Lounge

Yo La Tengo at The Vic

Mountains at The Empty Bottle

Polvo at The Bottom Lounge

Ghost at The Empty Bottle

(Is there really that big a difference with open headphones sound quality wise?)

There can be. I think the main advantage is it gives you a far more expansive soundstage and reduces distortion. Wheras with closed headphones, the sound feels trapped inside your head, which can also become fatiguing. The tradeoff is that they leak sound (not good for use in public), and typically have weaker bass. Thats my understanding anyway.

that Sunn O))) record was disappointing.

really? i thought it was the best thing they've done.

I don't understand the idea of baclash when it comes to supposed overhyped records . walk through your neighbourhood and ask every one you see

what they think of the xx and you know what they will say , well of course you do. how can something that is not even a cultural refrence be over hyped? becuz some critics like it which many did with this one. Lady Gaga is overhyped the world cup is over hyped, though i love one and sorta like the other.

First of all, it is possible for an album to be overhyped by critics and not be picked up by the mainstream. Again, to my ears the album is nothing special. The first instrumental track was intriguing and caught my attention, but the rest I just found incredibly boring (and no, Im not incapable to enjoying "quiet" music. I own more ambient and drone albums than I can count). I dont think its bad by any means and for a debut by an act as young as they are its pretty impressive. But it definitely wont make any of my year end lists.

And as far as the World Cup goes, 95% of the world shuts down for those games, so I would say the hype is justified. Lady Gaga is another matter.

Most overrated album of the year.

The shot of the trees in the water that stretched forever made me draw my breath.

Yea, that was another good one. Think I read somewhere that was shot on Mt St Helens. A lot of the other stuff was in PA.

The movie was good, but its one of those that I really have no desire to see again. Its just so unrelentingly bleak. Of course the book is the same way, but the poetry of the writing kind of distracts you from what they're actually going through. I will say this: the cinematography and locations were absolutely incredible, and worth the price of admission alone. There arent many wide angle shots of the landscape, but when there are..whoa. That abandoned highway overpass made my jaw drop. The scene when they arrive in the city (I want to say it was shot in New Orleans? Not sure) was also incredibly created. I definitely feel out of all the post apocolyptic movies that have been made in recent years, this one most closely captures what such a world would probably be like. Still not sure what I think of the whole cannibal thing. I think it cheapens the book/movie in a way, but it does highlight how far man can fall (and the things people might have to do to survive), so I guess its not an entirely cliche device.

As depressing as the book/film are, their greatest by-product is to really make you appreciate that you DONT live in that world. You get a whole new appreciation for life as you know it after walking out of that theatre into the fresh air and sun, and I think it sticks with you for a long time (it did for me, anyway). And it also highlights just how fragile (and absurd) our modern society is. At the end of the day, the material possesions or job dont matter. Its those you love.

Nice shots of the beach. I just recently moved to Rockaway Beach NY and have yet to spend the time I'd like to on the boardwalk taking some pictures of the surf!

Thanks, they were taken at the Indiana Dunes

Some odds and ends I devevloped last night. Excuse the shit scans

Seeing as how I will be gainfully employed again beginning next week after a 6 month "vacation", Ive been thinking about treating myself to some electronics gear. I guess I'll preface this by saying Im not sure what my budget is, mainly because the audio world is so daunting. Im willing to spend some dough within reason, but I dont need top of the line. I can say with certainty I dont give a shit about surround sound. The primary usage will be for music, mostly vinyl. But outside of that, Im unsure of where to turn. The main components I think I'll need are:

speakers

turntable

amp/preamp (or receiver?)

Im open to both new or used recommendations.

Finally, any recs on Chicago area retailers? I've heard these guys tossed around. Any firsthand experiences or preferences?

http://www.musicdirect.com/

http://www.saturdayaudio.com/

http://www.decibel.com/

Those of you who own and use the Sony V6 model - did you have to buy an outside power source in order for it to work with your ipod?

No.

I present to you: The Blackbody. Some choice quotes:

The "beam of light from a flashlight" analogy is easy to grasp, but the truth is that the opposite is happening. The Blackbody is more akin to an "anti-projector" -- in the sense that it is actually the gear which is "shining the light," and the Blackbody’s 35 degree angle “line of sight” modifies the gear's "shining" so that it ceases to affect the audio.

 

This is not sci-fi. The Blackbody does not set up a "force-field." It alters the ambient reflections of actual EM fields originating from and affecting the gear. The Blackbody interacts with these fields, creating a different reflection pattern. Consider the Blackbody a narrow angle conditioner for electromagnetic ambient conditions. The completely neutral "projector-like" functionality of the Blackbody causes audible changes in sound when one person holds it in two hands (for it is heavy) and pans it slowly in proximity to and across the gear. The listener can sit and report sometimes drastic, sometimes less drastic, changes in the sound's neutrality as the Blackbody travels, affecting key areas of the circuitry in the gear. The Blackbody’s effects easily traverse equipment cases, furniture, and other obstacles, for photon energy is pure energy that can go directly through all these substances. This might seem somewhat uncanny at first, but think of a toy magnet under the table moving another magnet on top of the table: what is happening here is similar, only instead of drag or lift, we get cleaner sound.

If this is some elaborate parody of audiophiles, its absolutely brilliant. And if this guy is somehow making money off of them...he's even more brilliant. Remember kids, get 2 or 3! They're small.

Since you went ahead and bought them.....I'm sure they'll be a big improvement, so enjoy them and feel free to ignore the following.

 

Most of the large, high-end headphones are designed to be driven by a separate outboard amplifier. There are many hundreds of great amps out there, and some of them are portable (kinda), but for the hardcore headphiles the amp is as important as the headphone- and the synergy between the two is paramount. The reason a small mp3 player isn't great for most of these headphones is that it only puts out a few milliwatts of power (for battery life), so your earbuds or headphones need to be well placed in your ear, have very sensitive drivers (speakers), and have a friendly impedance load - or all of the above. If two of those three needs aren't met by the headphone, then the iPod's tiny amp will be taxed and will perform badly--> sonic degradation. May also affect battery life.

I get what you're saying, but I dont see how practical it is to haul an amp on your morning commute down the subway. Just seems like overkill to me. Obviously there are some models which wont perform well without an amp at all...in that case I woldnt recommend them for portable use. The Sony V6's however have low power requirements so you can still at least use them for that purpose. That is one of their commonly cited strengths, and if you plan on just buying one set of reasonably priced audiophile grade headphones for both home/portable use, its hard to go wrong.

That Bose image makes me cringe...I can't believe this thread has made it this far without a mention of Grado!

 

http://www.gradolabs.com/product_pages/sr60.htm

 

The SR60s are godsend. Best cans under under 100 bucks, no question.

I've heard a lot of good things about those, but they are an open design which pretty much means I cant use them on the train or anywhere in public. One of these days though Im going to bite the bullet and get some SR225i's for home use

Thanks! Just ordered them, so let's see what happens.

Nice! Be sure to let us know what you think. Keep in mind a break in period is pretty standard, and you will find the sound settle over time. And hey, if you decide you dont like them, worst case scenario is you're only out $60.

Again, I dont understand why someone would pay hundreds of dollars on a pair of cans when you can own the Sony V6 (identical consumer version of the MDR 5706), which is likely the exact same pair of headphones the studio engineer used to produce the album. The V6's are a steal $65...or around $90 for the MDRs which give you a gold plated plug and a "Professional" sticker on the side. They are built like tanks, and the only thing you will likely ever need to replace are the earpads (which are notorious for flaking apart over time). If you do need to replace a part, you are provided with a blowout schematic with the corresponding part number for every single screw. Thick double stiching in the headband and comfortable to wear over many hours. The sound is pinpoint accurate with a deep soundstage, and are easily driven by an iPod. Very neutral sounding - which is what you want out of any speaker or headphone. Loud, clean, and great bass response which truly makes it feel like the performer is an inch away from your face. At any rate, they are pretty much the only Sony's worth messing with, IMHO.

has anyone used these Bose on-ear headphones? i've listened to them in the store and they're really comfortable and seem to have a nice sound to them...

 

Im not familiar with that particular pair, but I will say 80% of what you're paying for with Bose is advertising.

The only pair you will ever need. They have been the industry standard for decades for a reason.

I totally agree that LPs are fun to play, but they do have significant disadvanages over digital. I have yet to play an LP in my car, where I spend alot of time listening to shit.

Most new LP's these days come with a free digital download of the album.

I have maybe the lowest line Sony turntable and am wondering if records would sound even better with a "nicer" one. I mean, they differ in price so much I have to assume there are sound differences.

The expensive turntables are usually direct drive...the stuff you see DJ's using. It allows for instantaneous stop/stars, the ability to adjust speed, and to scratch/play records backwards, etc. Theres no reason an average consumer needs a Technics 1200. Lets face it, turntables are an ancient format. By this point in the game, even the low end belt driven models have been perfected to do an adequate job. In fact, the vintage stuff being sold in garage sales or sitting in your grandmothers attic is the best possible gear you could pick up.

i would imagine that price differences in turntables would be far easier to hear than price differences in cd players.

Compared to CD players, the choice of a turntable is obviously more important. But unless you plan on being a professional DJ, theres absolutely no reason to shell out $500 on that component.

I still maintain that if you're going to spend money on a home stereo setup, the most important thing is first and foremost the speakers, secondly the receiver, and lastly the turntable. A good set of speakers can make the difference between night and day. You may be able to discern a difference in turntable, but I really think people put too much emphasis on it.

The Lips are playing a show in a few mionutes that is being streamed live:

 

http://www.flaminglips.com/blog

Neato, watching now

where can the LP be purchased? I can't find it anywhere.

According to Kliph, Michael forced Warner Bros. to redo the mastering on the vinyl to make it sound better. Therefore its release has been pushed back to late October/ Early November.

A- from the AV Club

http://www.avclub.com/articles/the-flaming-lips-embryonic,33921/

The Flaming Lips begin the new Embryonic with “Convinced Of The Hex,” a stunted, herky-jerky, head-trip anthem that would’ve fit well on the Lips’ previous album, the splattery At War With The Mystics. “Convinced Of The Hex” may be the worst song on Embryonic, but it’s a necessary transition to where the band then travels. The next track, “The Sparrow Looks Up At The Machine,” sounds like a coda to “Convinced,” except that it’s more fluid, melodic, and rhythmic, using just a few words and a rolling beat to convey the wonder of the organic being dwarfed by the electronic.

 

From there, Embryonic continues into the abstract and the abrasive while re-committing to the sense of awe and beauty that made The Soft Bulletin such a breakthrough a decade ago. The Flaming Lips do a lot with a little here, beginning nearly every track with a low pulse and a scrap of a lyrical idea, as though each song were a footnote to the one before. Because of that digressive approach, Embryonic is a song-cycle with no summary and no climax. Instead, the album is full of small moments of release: an overly loud harp-strum here, distorted bass and drums there, celestial synths and funky bongos everywhere.

 

Flaming Lips frontman Wayne Coyne said during the making of Embryonic that this was going to be the band’s most experimental record, but it isn’t that far off the beam, really. Parts of it sound like the futuristic soundscapes of Zaireeka, and parts like the mellower passages of Mystics. The Lips nod to Neil Young, Pink Floyd, and Walt Disney as always, but also to Joy Division, Santana, and Gary Numan. Defying its own title, Embryonic presents a band discovering that the far edge of an idea is often more compelling than its core.

Wayne Coyne needs to be sending Jeff Tweedy Christmas and Birthday gift for the rest of his life.

 

If WB hadn't received so much flak for canning Wilco, The Lips would be toiling away on a much lower profile label.

I doubt it. The Lips and WB always seemed to have a special kind of relationship. I mean, they let band produce Zaireeka fer christsakes.

And even if they were on an indie label, I doubt the Lips would care much. That seems to be the route most bands are taking these days anyway.